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Horror Science Fiction, 2002.
A look at how protagonists face death and horror in three stories.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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Abstract
How protagonists face death & horror in three stories. Examines Edgar Allan Poe's THE FALL OF THE HOUSE OF USHER, H. P. Lovecroft's THE COLOUR OUT OF SPACE, Stephen King's THE RAFT. Poe's use of atmosphere to creat a sense of horror. Lovecroft's use of color as a character to build the tone of horror. King's use of gore in telling his story.
From the Paper
"All fiction is fantasy and takes place in the realm of the imagination. Fantasy and Science Fiction, however, as genres of fiction, contain themes about quests that take the reader farther abroad in the realm of imagination as the protagonist travels through fear and impending death to the goal of his/her quest. In Dark Fantasy (also known as Horror), a sub-genre of Fantasy and Science Fiction, the quest is about the confrontation of the protagonist with fear and death (Roberts, 2001, p. 31). The protagonist does not always survive this crisis. This paper will explore how Edgar Allan Poe, Howard Phillips (H. P.) Lovecraft and Stephen King describe the quest of the protagonist through death and horror in their short stories "The Fall of the House of Usher," "The Colour Out of Space," and "The Raft."
Poe uses atmosphere, rather than gore, to create a visceral..."
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Eta Hoffman's Story "The Sandman", 2002.
Analysis of the romantic horror story and critical interpretations.
2,250 words (approx. 9.0 pages), 6 sources, $ 79.95
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Abstract
Analysis of the romantic horror story and critical interpretations. Discusses Freud's interest and the application of his psychoanalytic theory to the story. Structuralist literary criticism. Analysis of personality of literary characters vs. application of cultural and literary codes to construct meaning. Contends both theoretical approaches supply insights into the characters, although each has its limitations.
From the Paper
"E. T. A. Hoffmann's story "The Sandman" is a striking account of the nearly inexplicable horror experienced by a man who is traumatized in childhood and whose fear returns in adulthood with tragic results. With four narrative voices, various characters' opinions about the nature of the main character's experience and feelings, a great deal of supernatural or uncanny material, and a sharp, surprising split between the earlier and later parts of the story it is a literary work that seems ripe for many kinds of criticism. Tales of Romantic horror often seem to lend themselves in particular to psychoanalytic criticism, especially when, like Hoffmann's tale, they seem to involve the disintegration of a character's personality and clearly involve childhood experience and sexual concerns. Indeed Sigmund Freud himself discussed the story at some length in his..."
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"Carrie", 2006.
Examines Stephen King's "Carrie" as a successful modern day horror story.
1,050 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
A superior horror story is a combination of reality, supernatural and the fantastical worked into a suspenseful, captivating, believable story. The paper shows that Stephen King's novel, "Carrie", utilizes these literary elements to create a modern-day horror story. The character, Carrie, is realistic because she is, from all outward appearances, a normal teenage girl that suffers from merciless teasing. Carrie is also realistic because while we pity her, we also detest her actions. This realistic character is placed in a supernatural setting with her telekinetic powers, which makes the novel fantastical.
From the Paper
"King also creates a very realistic character with Carrie in that she is depicted in two very different ways, which plays on our emotions. She is, on one hand, a creature to be pitied and on the other, she is a creature to de despised. At the beginning of the novel, we cannot help but feel sympathy for Carrie as she experiences her first menstrual cycle. Her first response is that she is "bleeding to death" (9) and the fact that Miss Desjardin is unsympathetic fosters our compassion for the girl. In addition, Carrie's classmates were "throwing sanitary napkins" (15) at Carrie in the shower."
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"The Tell Tale Heart", 2001.
A look at the role of the narrator in the horror story, "The Tell Tale Heart" by Edgar Allan Poe.
1,580 words (approx. 6.3 pages), 0 sources, $ 51.95
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Abstract
This paper shows how Edgar Allan Poe in "The Tell Tale Heart" creates an exquisite horror story built around the central symbol of the Tell Tale Heart of the title. This symbol reverberates with underlying symbols of madness and fear and interacts with the image of the vulture eye that must be murdered. The writer explains how the narrator's mind is controlled by fear, and this fear has lead to insanity. When the story starts the narrator has already scared himself out of his wits and at the end he finds exactly what his unbalanced mind is looking for, the absolute in mortal terror.
From the Paper
"This eye become a symbol, or perhaps even a pun, for the I, or mad self of the narrator. It is an eye with a film over it, an unseeing eye, perhaps the eye of the murderer himself, just as the heartbeat is his own heartbeat. He cannot see into himself. He is so insane that he believes his plan is wise. ?Never before that night had I felt the extent of my own powers, of my sagacity.? His mind is so twisted he believes that in bringing fear to the old man he will be able to kill his own fear. He will not kill the old man while the eye is closed. It has to be open. It has to know fear as he kills it. The murderer doesn?t understand his own motivation, which is to feed his own fear, as a vulture feeds, unendingly, seeking one carrion corpse after another. Poe works the image so that narrator merges with the eye and the vulture as he destroys himself and the eye (I). "
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The Realist Horror Film, 2006.
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
2,818 words (approx. 11.3 pages), 10 sources, MLA, $ 83.95
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Abstract
This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper
"The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
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Horror Films, 2002.
An overview of different views on horror films, with a discussion of the most popular horror films.
2,804 words (approx. 11.2 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.
Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion
From the Paper
"?Psycho? is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer?s identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience?s wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."
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Genres: Horror and Mystery, 2004.
This paper discusses ?The Yellow Wallpaper? by Charlotte Perkins Gilman and ?The Cask of Amontillado? by Edgar Allan Poe as examples of the horror and mystery genres in literature.
1,075 words (approx. 4.3 pages), 2 sources, APA, $ 37.95
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Abstract
This paper explains that most of the literary works under the horror and mystery genres provide insightful depictions and illustrations of social criticisms that the writers want to critique symbolically or figuratively. The author points out that, while Poe in ?The Cask of Amontillado? uses both themes of insanity and murder in his story, Gilman?s ?The Yellow Wallpaper? effectively uses the protagonist?s downfall to insanity to portray the grotesqueness not only of psychological instability, but also of emotional repression the woman character experiences in the story. The paper reviews various forms of irony that are used in both stories to create the monstrous feeling within the tales and to state the authors? position on social issues.
From the Paper
"The short story ?The Cask of Amontillado? illustrates both themes of the protagonist?s downfall to insanity and celebration of death through the commitment of murder. The story shows how Poe, through the main character?s (Montresor) narration, behavior, and action, is able to generate fear and the air of mystery, especially in illustrating the shocking narration and illustration of the death of Fortunato, the man Montresor despised and considered as his enemy and competitor."
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Horror Films, 2009.
This paper argues that, over the ages, horror films in many forms have served to teach religious ideologies.
950 words (approx. 3.8 pages), 7 sources, MLA, $ 33.95
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Abstract
This paper explains that traditional Christian morals play a large part in the modern horror film genre with religious iconography almost equally represented as a righteous force. The unspoken rule of horror films, the paper points out, is that the most morally virtuous character usually survives in the film the longest. Slasher films, such as "The Exorcist", "Dracula" and "A Nightmare On Elm Street", the paper states, grew out of stories from the Bible and classics, such as Dante's Inferno.
From the Paper
"What really is the vampire but a representation of our societies repressed sexual desires, what are zombies but the upper class fear of the scourge of the underclass? When questions of morality are boxed into a context as black and white as evil vs. good, a very dangerous delineation can occur. The power of moral ideology being dispensed on the big screen to audiences across the globe cannot be ignored. Such simplicity in story content acts as an excellent vehicle for the proliferation of these messages to the middle class, non-cultured Americans."
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Horror and Human Nature, 2002.
An analysis of Stephen King's life And its influence on his writing.
1,900 words (approx. 7.6 pages), 7 sources, $ 71.95
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Abstract
A brief study of Stephen King's life and its affect on his writing. Covers style, characters, content, and some themes, and traces the development of King's writing since the publication of Carrie in 1974. Discusses differences between his horror and non-horror writing, and how his horror works fit into the larger genres of horror and gothic fiction.
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Horror Films, 2003.
Discusses the public's fascination with the horror genre.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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Abstract
Examines the reasons why horror and vampire stories and films are popular and the visual artistry necessary for outstanding horror films, such as "Dead of the Night" and "Nosferatu."
From the Paper
"In Heart of Darkness, Joseph Conrad's protagonist's final words are "Oh, the horror! The horror!" This sums up the public's fascination with horror movies. However, "horror was . . .an established literary genre long before Edison turned..."
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Can the Horror Genre and Scopophilia Co-Exist?, 2003.
The paper examines the effects of women on the horror genre in film.
1,520 words (approx. 6.1 pages), 4 sources, MLA, $ 50.95
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Abstract
The paper examines how sex and scopophilia have played a major role in making the horror genre successful, incorporating also the elements of montage and sound. The primary film discussed in the paper is "Silence of the Lambs", but "Psycho" and "The Birds" are used as well.
From the Paper
"With sex as an added element the suspense is increased. If one scene is of a sexual nature it takes our minds off the horror, therefore when the horror comes back we are surprised, therefore increasing the suspense and horror of the film. This is not the only example of the combination. There are many others that we may refer to demonstrate this point. The film Silence of the Lambs proves that scopophilia of women blends with the elements of the horror genre, while making sure to hold the traditional elements strong throughout the movie."
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Film Noir and Horror, 2002.
The differences between film noir and horror films.
2,400 words (approx. 9.6 pages), 12 sources, $ 89.95
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Abstract
This paper differentiates between the horror and film noir genres with a focus on Hitchcock's "Psycho" and Welles' "Lady from Shanghai".
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H.P Lovecraft: the Next Step in Horror Evolution, 2002.
A look at the writings of this author and how he adapted Edgar Allan Poe's genre of writing horrors and moved them a step forward.
1,020 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
This paper examines Lovecraft's writings and compares them to Poe's. The writer shows how Poe was the first true writer of horror stories but how Lovecraft based his genre on Poe and adapted it in a way he thought his readers would respond. The paper mentions several of their works and compares and contrasts them.
From the Paper
"Horror writers use several tactics to prey on the human psyche and produce what the readers want, fear. Readers of horror writing want to feel their skin crawl and feel a building sense of tension. Horror writing has undergone several steps in evolution from its beginnings. The first true horror writer to prey on the depths of the human unconscious was Edgar Allen Poe. H.P Lovecraft used the style of Poe, however added another step to scare his readers. Modern writers have built further on Lovecraft to produce the modern horror genre. It is the use the element of the unknown, introduced by Lovecraft that has led to the development of the modern horror genre."
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Contemporary Japanese Horror Films, 2008.
An analysis of the horror movie genre with a focus on Japanese films.
2,785 words (approx. 11.1 pages), 7 sources, MLA, $ 83.95
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Abstract
This paper examines how horror movies work by playing play on humankind's worst fear - the fear of the unknown, whether it's the supernatural unknown realm, or just the reality of the every day way in which we encounter hundreds of different "unknown" people. In particular, it looks at how in a technologically advanced country such as Japan, the idea of artificial reality created by technology is a major threat. The paper does this through an analysis of such films as Kurosawa Kiyoshi's "Kyua" and Shimizu Takashi's series of films entitled "Ju-on".
From the Paper
"In addition to this idea of artificial reality created by technology that I mentioned earlier, the fears of the Japanese public were furthered by the increasing violence seen in the 1990's, particularly the acts of Aum and "Sh nen A". Aum, a religious cult headed by Asahara Shoko, was responsible for the saran gas attacks in the Tokyo subway system in March of 1995. "Sh nen A", on the other hand, was a young high school student who in 1997 murdered several younger students, beheading them and taunting the police with notes left in his victims' mouths. Suddenly the public's attention was brought to the perpetrators of these heinous acts: no longer were horrible crimes exclusive to criminals, the insane, or the sociopath. The members of Aum were for the most part young, intelligent, university educated people from stable, wealthy families (Metraux, p. 1149). "
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The Role of Music in Modern Horror Films., 2001.
A look at the effects that music has on viewers' expectations during horror movies.
2,800 words (approx. 11.2 pages), 8 sources, MLA, $ 83.95
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Abstract
Many horror movies musical techniques are discussed in this paper. The writer shows how this music effects the audience's viewing experience and builds up hype and expectations. Different styles are discussed - creepy, tense, supernatural, fear etc.
From the Paper
"To fully utilize sound in a film it must be more than just neat sound effects added in as an after thought. The first crews to utilize this new mind set was the ever famous team of Ben Burtt and Walter Murch in Star Wars and then again in Apocalypse Now. They realized that the sound shaped the picture as much as the picture shaped the sound. The result was a powerful effect that forever changed the way sound is used in a film (Thom, 1999). It takes more than loud, high fidelity, and well executed sound effects to make a great movie. The soundtrack must be integrated into the entire film as a whole. It should enhance and change as the mood changes. In this way the soundtrack becomes a valuable part of the team (Thom, 1999). Many directors overlook the potential that sound has in storytelling and often do not consider it in relation to the other elements of the film. This philosophy embraces the idea that good sound embraces and is considered by the other crafts, as well. It is not just a product of the other crafts."
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